Stodgy projects

Thanks Douglas Kahn! This sums up in 32 words what I say in far more in the previous post:

The aesthetic inertia exerted by musique concrète and Cage arose from their own context: although they were marginal to the stodgy project of Western art music, they were still attached to it. The accompanying discourses were also not very useful — Douglas Kahn, “Sound, Art, Music” (2005)

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